DOCSLIB.ORG

Very Long Day

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Very Long Day THE VERY VERY VERY LONG DAY EXHIBITION CATALOG 1 THE VERY VERY VERY LONG DAY · · · · · · · · · · A Virtual Exhibition · · · · · · · · · August 22, 2020 Curatorial Statement #TVVVLD Self Help Graphics & Art presents The Very Very Very Long Day, a virtual group exhi- bition curated by Marvella Muro, featuring artists from our teaching artists cohort and Featuring Advisory Committee, documenting their collective experiences during the COVID-19 pandemic. The exhibition opens virtually August 22, 2020. Pavel Acevedo Cynthia Navarro Since the implementation of the mandatory quarantine in mid-March, the perception Martha Carrillo Jennifer Payan of time has blurred and morphed into what seems to be one Very Very Very Long Day. Time is obsolete, yet five months have passed, bearing witness to a global standstill Gabriella Claro Monica Perez while simultaneously experiencing a nationwide uprising. We first found ourselves Clover Andrea Ramirez scrambling to adapt to a new way of life while watching the number of COVID-19 cases rise and the economy sink. Our anxieties are magnified by the restrictions to physically Victoria Delgadillo Diego Robles be with family and friends, primarily when an illness or death affects a loved one. The Yaneli Delgado Oscar Rodriguez inability to practice traditional mourning rituals further deepens the void in our hearts. Flor Flores Viktor Rosas The pandemic has also shed light on the many systematic inequities affecting peo- ple of color, on a national level. For one, communities of color are the most impacted Gustavo Garcia Marianne Sadowski by COVID-19 - from economic well being to health and security - and yet historically Rafael Haro Pete Tovar receive the least amount of resources. These factors, including the growing frustrations generated by the pandemic, were further exacerbated by the video of George Floyd’s Michelle Lopez Dewey Tafoya killing, with the Black Lives Matter movement exemplifying the strength and courage of Rosalie Lopez Arleny Vargas the human spirit at its core. The Very Very Very Long Day exhibition is not only a doc- Ariel Mar Ernesto Vasquez umentation of many issues currently at the forefront, but also honors the human spirit, people’s perseverance, and to some extent, determination to create new normalcy to Dalila Paola Mendez Mario Ybarra Jr. avoid breaking. Connie Mendoza Joan Zamora The works in the exhibition are windows to a specific time, recordings of tangible and Chynna Monforte intangible events, and experiences. As we continue to celebrate birthdays and special occasions, walk our dogs and attempt to follow a routine in this new normal, we look to the day where we can stand strong, hand in hand, and without masks once again. 2 3 PAVEL ACEVEDO @pavel_acevedo About Pavel is a printmaker and muralist originally from Oaxaca, Mexico, and based in River- side. His artwork is inspired by the traditional Mexican printmaking and imagery, cre- ating stories that emerge from contemporary events. His murals are at The Wignall Art Museum and Chaffey College in Rancho Cucamonga, La Sierra University, and a public wall in Riverside, California. He has exhibited between Southern California and the Bay Area, including the Getty Pacific Standard Time: LA/LA and We Rise LA in 2019. He was a grant recipient of the James Irvine Foundation and received an artist fellow- ship at KALA Art Institute in Berkeley and is part of Speedball’s roster of printmakers. Past artist residencies include College of the Canyons in Santa Clarita and Horned Toad Print Shop in El Paso, TX. Artist’s Statement There are elders’ stories telling how nature rules itself and how humans are connected to nature. When natural disasters happen, elders respond, “It’s not a problem for na- ture. It will restore itself, and the species will overcome and come together. Man will feel as if they conquered nature, but in no time, nature will take over and end man’s greed. The events happening now are all connected and against our community. We PAVEL ACEVEDO must join in solidarity against all the injustices and defunds systems that don’t support life. Mutual Aid/Ayuda Mutua, 2020 linocut, Ed. 10 A child representing an entity calls for solidarity with her fist. She has multiple masks 24 x 18 in. - paper size around her - one being a Jaguar, an homage to the stories taught by my elders to over- $400.00 come and unify. 4 5 MARTHA CARRILLO @heartonarts About Martha Carrillo is a visual and theatrical artist with expertise in prop-making, set decoration, and extensive experience in printmaking and large scale papier-mache objects. Martha is part of Self Help Graphics & Art Barrio Mobile Art Studio team of MARTHA CARRILLO teaching artists and has worked with The Music Center, Center Theater Group and others. Mexican-American, 2020 glass paint on plexiglass Artist’s Statement 8 x 10 in. $250.00 The quarantine has had me thinking about so much. About identity and who is more Mexican? How many generations in the States does it take one to be an American? As a first generation and LA native from Mexican immigrant parents, I wonder, how many generations do we need to prove that this is our home? 6 7 GABRIELLA CLARO @tragic4l About Gabby Claro is a 22-year-old artist from South Central LA. Focusing on mediums such as screen printing and painting, Gabby’s work is deeply rooted in social consciousness and empowerment. gabriella claro Artist’s Statement Future Generations, 2020 While this piece is heavily inspired by the recent uprisings, I’ve also used this time and mixed media (paint and embroidery) artwork to reflect. Continually thinking about how our actions, language, and ignorance 20 x 24 in. can deeply affect our youth, the portraits of Aiyana Jones and Tamir Rice are included $250.00 to honor the young lives taken by violence. 8 9 TRENELY “CLOVER” GARCIA @thecloversigns About Clover grew up in South Central. She is a member of Ni Santas an all women artists collective. She has a passion for typography and often includes text in her art work. In 2017, Clover was invited to publish her very first serigraph print through Self Help Graphics & Art’s Professional Printmaking Program. The print titled Los caminos de la vida reinvisions what her neighborhood of South Central would be like, if the residents had more green space. Artist’s Statement TRENELY “CLOVER” GARCIA I feel like I’m buried alive, like I’m trapped in a cage even though I am able to get Enterrada viva, 2020 out. Guilty, guilty of being happy in a chaotic but enlightened time surrounded by the watercolor and black ink on watercolor paper beauty of the land and this concrete jungle having downtown next door & its fast pace. 8 x 8 in. Media tristona, kind of sad. Prints of the painting are available for purchase through NFS @thecloversigns. 10 11 VICTORIA DELGADILLO @ victoriadelgadillo4637 About Victoria Delgadillo works in various forms of visual art (painting, print, digital art, film), but her main art practice is in engagement and collaboration with collectives and com- munities through participatory art. She believes that displaying her work in non-tradi- tional community accessible spaces, invites the under-valued audience to participate in the art discourse. Artist’s Statement Avelina is a dancer, writer, performer and a gracious young woman on the verge of her VICTORIA DELGADILLO adult life in Oakland, California. Our love of family, culture and traditions urge us to im- Avelina’s Quinceanera, 2020 provise, even when we cannot be together in our usual shared spaces filled with hugs, watercolor delicious food and comfort. During the Coronavirus pandemic on May 30, 2020, Ave- 16 x 20 in. lina’s family hosted her Quinceañera via Zoom--complete with decorations, a beautiful ball gown, well wishes, blessings, dancing, performances, poetry, gifts, a brindis, and $750.00 cake. Avelina’s Quinceañera is about our perseverant malleability to continue as fami- ly, to remain in the now, to celebrate humanity even when social matters command us to seek justice and to help those who lack basic reassurance. 12 13 YANELI DELGADO About Yaneli Delgado is a proud Mexican American born and raised in South Central Los Angeles. She graduated from Thomas Jefferson High School, and four years later, she graduated from U.C. Santa Barbara with a double major in Sociology and Spanish. Ya- neli moved back to South Central L.A. and wanted to be a resource to students in the community. While she continued to work at her former high school and Nava College Prep Academy, she was inspired to go back to school. Delgado found her interests in Printmaking and is currently at CSU Long Beach, where she will be receiving her Art Education Credentials by Fall 2020. Many African American, Chicana/o, Mexican, Latin American muralists, and printmakers have influenced her work. She believes a printing press can be a powerful tool for the artist as he or she can send a powerful message with a touch of ink. Artist’s Statement 2020 is a linocut print that reflects the current situation that the world is witnessing. The woman is wearing a shirt that says “Defund the Police” with a poster sign quoting Au- YANELI DELGADO dre Lorde. The subject has sun rays around, representing revolutionary hope. This print was also inspired by the artist’s personal experience during this pandemic and how she 2020, 2020 has coped. linocut, Ed. 7 15 x 11 in. $250.00 14 15 FLOR FLORES About Flor Flores is a writer and artist, and part of the Self Help Graphics artists cohort, who lives in Los Angeles. Flor joined ‘Soy Artista’ with Self Help Graphics in 2016 and start- ed using art such as silkscreen printing and spray painting to advocate for social justice issues in her community of Boyle Heights.
Load more

Recommended publications
  • Allan Kaprow: the Happenings Are Dead, Long Live the Happenings
    1 ALLAN KAPROW: THE HAPPENINGS ARE DEAD, LONG LIVE THE HAPPENINGS Happenings are today's only underground avant-garde. Regularly, since 1958, the end of the Happenings has been announced--always by those who have never come near one--and just as regularly since then, Happenings have been spreading around the globe like some chronic virus, cunningly avoiding the familiar places and occurring where they are least expected. "Where Not To Be Seen: At a Happening," advised Esquire Magazine a year ago, in its annual two-page scoreboard on what's in and out of Culture. Exactly! One goes to the Museum of Modern Art to be seen. The Happenings are the one art activity that can escape the inevitable death-by-publicity to which all other art is condemned, because, designed for a brief life, they can never be over-exposed; they are dead, quite literally, every time they happen. At first unconsciously, then deliberately, they played the game of planned obsolescence, just before the mass media began to force the condition down the throats of the standard arts (which can little afford the challenge). For the latter, the great question has become "How long can it last?"; for the Happenings it always was "How to keep on going?". Thus, "underground" took on a different meaning. Where once the artist's enemy was the smug bourgeois, now he was the hippie journalist. In 1961 I wrote in an article, "To the extent that a Happening is not a commodity but a brief event, from the standpoint of any publicity it may receive, it may become a state of mind.
    [Show full text]
  • ART 3712C (24530), 3 Credits FALL 2021 UNIVERSITY of FLORIDA
    SCULPTURE: CONCEPTS AND STRATEGIES ART 3712C (24530), 3 Credits FALL 2021 UNIVERSITY OF FLORIDA COURSE INSTRUCTOR: SEAN MILLER M/W Per. 8-10 (Actual time course meets: 3-6PM) STUDIO LOCATION: Building FAC Room B001 OFFICE LOCATION: FAC B002B OFFICE HOURS: Wednesday 10:15AM - 11:15AM (By appointment) CONTACT: Cell phone: (352) 215-8580 (feel free to call or text me with quick questions) EMAIL: [email protected] COURSE BLOG: http://ufconceptsandstrategies.blogspot.com SCULPTURE PROGRAM: UF Sculpture Links: http://ufsculptureprogram.blogspot.com UF Sculpture Info https://arts.ufl.edu/academics/art-and-art-history/programs/studio- art/sculpture/overview/ @uf.sculpture on Instagram COURSE DESCRIPTION In Concepts and Strategies, we will discuss the history of sculpture and the expanded field and highlight innovative contemporary ideas in sculpture. We will experiment with conceptual and hands-on approaches used by a diverse range of artists. This course will challenge students to critically examine various sculptural methods, analyze their own creative processes, and produce work utilizing these techniques. Participants in the course will focus on sculpture as it relates to post-studio practice, ephemeral art, interdisciplinary thinking, performance, and temporal site-specific art production within the realm of sculpture. The course is designed to be taken largely online to accommodate the limitations caused by the pandemic. COURSE OBJECTIVES • Gain an understanding of sculpture history and sculpture and the expanded field. • Learn various techniques to make art outside of the parameters of the studio, and gallery space. • Develop techniques to intervene and make work in a site-specific context. • Become more ambitious in your research, conceptualization, and in the realization of your work.
    [Show full text]
  • Gce History of Art Major Modern Art Movements
    FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
    [Show full text]
  • Directory of Resources for Senior Citizens Page 20 Program
    Directory of Resources for Senior Citizens Page 20 ! Program: Personal, family or spiritual help to people •in need. Counseling, reference service, senior citizens club, Telephone Chapel. No limit to age, sex, race, length of residence, income, special handicaps or problems. Fees: None Area Served: Los Angeles City Area, especially Los Angeles Methodist Churches EDGEWOOD FAMILY COUNSELING AGENCY 1815 E Workman Ave, West Covina 91791 332-6066 Program: Family counseling service to families and individuals with difficulties which tend to threaten the healthy functioning of the family or individual. Problems arising from poor physical or mental health or old age. Non-sectarian. Fees: According to ability to pay. Intake $15. Therapy $1 to $15 per interview. Area Served: East San Gabriel Valley. Includes: Azusa, Baldwin Park, Covina, Glendora, La Puente, West Covina and county area between communities. EPISCOPAL CITY MISSION SOCIETY OF LOS ANGELES 615 S Figueroa . St, L.A. 90017 626-6444 Program: Rendirs personal service to patients of general and mental hospitals and inmates of penal institutions. Offers coun­ seling and referral service. Personal application or referral from clergy, institutions, or social agencies. Fees: None Area Served: United, Way, Episcopal Diocese of Los Angeles FAMILY COUNSELING SERVICE OF LONG BEACH 1047 Pine Ave, Long Beach 90813 436-9893 Program: A counseling service is provided upon request for senior citizens. Directory of Resources for Senior Citizens Page 21 I Fees: $0 to $20 per interview based on size of family and gross income. Area Served: United Way FOOTHILL SERVICE CLUB FOR THE BLIND, INC. 117 E Los Feliz Blvd, Glendale.
    [Show full text]
  • Eastside Los Angeles Matching Game Match Each Photo of a Historic Place in Eastside Los Angeles with Its Description
    Eastside Los Angeles Matching Game Match each photo of a historic place in Eastside Los Angeles with its description. Visit laconservancy.org to learn more about these places. Otomisan Japanese Restaurant Los Angeles County + USC Medical Center Mariachi Plaza Lincoln High School (pictured), Roosevelt High School, Garfield High School, Belmont High School, and El Sereno Middle School (formerly Woodrow Wilson High School) 1 Evergreen Cemetery Boyle Hotel Breed Street Shul Ruben Salazar Park International Institute of Los Angeles 2 Eastside Los Angeles Matching Game Answer Key Boyle Hotel Constructed in 1889, this brick building is where many people have stayed over the years, including Mariachis who performed across the street. The building was the first of its kind in Boyle Heights and now people call this place home. Breed Street Shul A religious location for the early Jewish residents of East Los Angeles that centered around (and still does) civic, social, and philanthropic activities. Evergreen Cemetery Created in 1877, this is one of the oldest cemeteries in Los Angeles where people from diverse cultural and religious backgrounds are buried, including African Americans, early residents of Chinese, Mexican, Japanese, and Armenian descent, and members of the Jewish faith. International Institute of Los Angeles Founded in 1914, this site aimed to help immigrant women and children in the Boyle Heights neighborhood adapt to life in the United States. Lincoln High School, Roosevelt High School, Garfield High School, Belmont High School, and El Sereno Middle School (formerly Woodrow Wilson High School) In 1968, Chicanx youth leaders organized the East L.A. Chicano Student Walkouts.
    [Show full text]
  • Contrastes Ulrich.Indd
    Animal Artistic Agency in Performative Interspecies Art in the Twenty-First Century Jessica Ullrich Johann Wolfgang-Goethe Universität, Frankfurt am Main [email protected] ABSTRACT: Traditional aesthetic places non-human animals in nature and not in culture. Non-human animals are generally considered to be artless beings without any urge or capacity to create aesthetic objects. To the contrary, the ability and the need to produce art is perceived as one of the last thresholds of humanity. Nevertheless, in the last decades more and more contemporary artists involve living non-human ani- mals in artistic productions. By doing so they declare some non-human animals to be co-authors of artworks and trust in their creative agen- cy. But is it legitimate to take animal contributions to installations, sculptures, video works, or paintings seriously? Can non-human animals be aesthetic actors in their own right? The text focuses on interspecies artworks that only come into existence with the help of non-human ani- mals. While it seems clear that the participating non-human animals display some form of agency, it is debatable if they can be called artists. KEYWORDS: Artistic Agency; Animal Agency; Interspecies Art; Animal Aesthetics; Contemporary Art. Agencia artística animal en el arte performativo interespecies en el siglo XXI RESUMEN: La estética tradicional sitúa a los animales no humanos en la naturaleza y no en la cultura. Los animales no humanos son ge- neralmente considerados seres carentes de arte sin ningún impulso o capacidad para crear objetos estéticos. Por el contrario, la habilidad y la necesidad de producir arte es percibida como uno de los últimos umbrales de la humanidad.
    [Show full text]
  • October 2020
    Newsletter for the LONG BEACH CITY COLLEGE CAMPUS COMMUNITY October 2020 In this issue: GRAND OPENING OF THE LABOR CENTER! LBCC RECEIVES SEAL OF EXCELENCIA! CHROME BOOKS AND HOT SPOTS GIVEN TO STUDENTS! ...and more! A Message from The Interim SECTIONS Superintendent-President CAMPUS NEWS Dear LBCC Campus Community, 4 We have all worked so hard throughout this challenging year, but I hope we can still embrace some of the beauty and STUDENT fun that autumn offers. Some cooler weather, harvest and SPOTLIGHT Halloween decorations and at least a little bit of football. 14 There have definitely been some high notes we’ve been able to enjoy these past few weeks. FACULTY & It has been rewarding for our staff as they welcomed back STAFF SPOTLIGHT our youngest Vikings as 24 children/families returned to the PCC and LAC Child Development Centers this month! 18 I have read reports that all is spectacular and the kids have adapted to the new safety policies and procedures that have been implemented. The children are so happy to be ON THE COVER: back at school and around other kids and I commend the Long Beach City College celebrated the grand Child Development Center teams for all of your efforts in providing a safe learning environment for our young Vikings. opening of the Labor Center located at the Pacific Coast Campus on September 24, 2020. LBCC was the only community college to receive the Seal of Excelencia this year, and we’re the only California Community College to receive it to date. I want to thank our To watch the virtual ceremony, visit Board of Trustees, faculty and staff for their leadership and hard work as this has truly been a team effort.
    [Show full text]
  • Maximizing the Benefits of Increased Urban Canopy on the Eastside of Los Angeles
    April 20, 2021 Maximizing the benefits of increased urban canopy on the eastside of Los Angeles Authors Rachel Ablondi David Galaviz Melinda Ramos-Alatorre Dulce Acosta Erik Huisman Seher Randhawa Marianna Babboni Yuliang Jiang Coleman Reardon Will Berelson Beau MacDonald Kate Weber Jackson FitzGerald Esther Margulies John Wilson CARBON CENSUS at USC I Acknowledgements Authors This report was prepared in coordination with the Los Angeles Rachel Ablondi, Undergraduate Research Assistant, Spatial Department of Public Works as part of a strategic partner- Sciences Institute, Dornsife College of Letters, Arts and Sci- ship on urban trees between the City of Los Angeles and the ences, University of Southern California University of Southern California. We are grateful for the Dulce Acosta, Senior Principle Director, Community & Local expert advice and collaboration from our City of Los Angeles Government Partnerships, University Relations, University of partners. Thanks to Rachel Malarich, Melinda Gejer, Irene Southern California Burga, Amy Schulenberg and Rachel O’Leary for working hand-in-hand with us since the beginning of the project. Marianna Babboni, Project Administrator, Dornsife Public Exchange, University of Southern California We would also like to acknowledge the many community Will Berelson, Professor, Department of Earth Sciences and members and organizations that took the time to meet with Environmental Studies Program, Dornsife College of Letters, our project team and voice their opinions. A special thanks Arts and Sciences, University of Southern California to Joe Laskin and Aaron Thomas from North East Trees for sharing their deep expertise with us. Jackson FitzGerald, Undergraduate Research Assistant, Spatial Sciences Institute, Dornsife College of Letters, Arts This project was made possible with the generous facilita- and Sciences, University of Southern California tion of funding support from USC President Dr.
    [Show full text]
  • Size Matters Plutschow Gallery + Edelman Arts
    SIZE MATTERS PLUTSCHOW GALLERY + EDELMAN ARTS FRANK STELLA La Scienza della Fiacca, 3.5 X, 1984. Mixed media on canvas, etched magnesium, aluminium and fiberglass. 316,2 x 328.3 79.4 cm (124.5 x 129.25 x 31.25 in) Zurich, Switzerland (March 20, 2019) Plutschow Gallery and New York gallery Edelman Arts join forces to present a groundbreaking exhibition of monumental works entitled SIZE MATTERS. April 12th to July 15th, 2019, (Waldmannstrasse 6, 8001 Zürich). After much historical debate, we have decided that size really does matter—as with size comes impact! For the first time seen on this level and amalgamation, this grand display of monumental works installed includes paintings, sculpture, and works on paper from eleven top international artists: Pier Paolo Calzolari, Larry Poons, Joyce Pensato, Frank Stella, Andy Warhol, Keith Haring, Pruitt + Early, Mimmo Rotella, Julian Schnabel, Leon Löwentraut and Miranda Pissarides. Each artist embodies a unique style, sensibility, and set of influences, yet together these artists working on a large scale prove the impact and strength of monumental artworks. Neons, leather, tobacco leaves, wires: these are materials – both ordinary and unconventional - used by revered artist, Pier Paolo Calzolari, one of the leading figures of the Arte Povera movement. Combining these raw materials in large scale hanging sculptures such as Rapsodie Inepte and Five Neons, the artist explores the transformation of ordinary materials and the essential fragility of objects. Larry Poons has re-emerged today as one of the most exciting artists grounded in Color Field painting and Abstract Expressionism. Two monumental paintings, Shores of Orion and Leaving Chords, draw in the viewer from afar with their impressive scale and hypnotically muted color palettes.
    [Show full text]
  • Jose Anguiano [email protected] Mexican Blood, American Heart: Listening for Home, Gender and Affect in Chicana/O Smiths/Morrissey Fandom
    Jose Anguiano [email protected] Mexican Blood, American Heart: Listening for Home, Gender and Affect in Chicana/o Smiths/Morrissey fandom This Night Has Opened My Eyes On December 10th 2009 Morrissey was in concert in Los Angeles in support of his new release “Swords,” a compilation of previously unreleased B-sides. I ventured out there with two friends acting as research assistants, a video camera, an audio recorder, and a clip board full of research consent forms to see if any fans would talk with me about their Morrissey fandom. We arrived at 3:30pm to find approximately thirty people waiting in line for a show that started at 8:00pm. The low number of fans waiting in line reflected the fact that most fans had reserved seats except for small general admission “pit” at the front of the stage. All the fans in line had general admission tickets and arrived as early as they could to vie for a spot near the front of the stage. The fans appeared to be of various ethnic backgrounds, ages and styles of dress. I noticed that whites and Latinos made up most of the fans in line but I would later find much more diversity in ethnic backgrounds as I went around and talked with fans. Of interest to me right away was the one African-American woman in line, who would later refuse to even speak to us, the young Latino rockabilly kids in the middle of the pack and the group of white youth that were first in line.
    [Show full text]
  • Sigmar Polke Born 1941 in Oels, Silesia
    This document was updated on March 4, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Sigmar Polke Born 1941 in Oels, Silesia. Died 2010 in Cologne, Germany. EDUCATION 1959-1967 Trained as a glass painter 1961-67 Staatliche Kunstakademie Düsseldorf SELECTED SOLO EXHIBITIONS 1966 Sigmar Polke, Galerie René Block, Berlin, May 11 – June 10, 1966 [catalogue] Sigmar Polke on December 10, 1966 in homage to Schmela with Otto Piene, Konrad Lueg, John Latham, Heinz Mack, Gerhard Richter, Galerie Schmela, Düsseldorf, December 9-15, 1966 1967 Sigmar Polke. Zeichnungen und Ölbilder, Galerie Heiner Friedrich, Munich, January – February 1967 Sigmar Polke: Neue Bilder, Galerie Heiner Friedrich, Munich, April 4 – 23, 1967 [catalogue] 1968 Sigmar Polke, Galerie René Block, Berlin, as part of Art Cologne, October 1968 Sigmar Polke. Moderne Kunst, Galerie René Block, Berlin, December 14, 1968 – January 16, 1969 1969 Sigmar Polke, Galerie Rudolf Zwirner, Cologne 1970 Sigmar Polke. 24 Hefte, Kabinett für aktuelle Kunst, Bremerhaven, April 25 – May 20, 1970 Sigmar Polke, Konrad Fischer Galerie, Düsseldorf, June 9 – July 2, 1970 Sigmar Polke. Bilder und Zeichnungen, Galerie Toni Gerber, zu Gast im Möbelhaus Teo Jakob, Bern, September – October 1970 Sigmar Polke, Galerie Thomas Borgmann, November – December 1970 Sigmar Polke. Bilder, Galerie Michael Werner, Cologne, November 20, 1970 – January 10, 1971 1971 Sigmar Polke, Galerie Ernst, Hannover, May – June 1971 Sigmar Polke, Konrad Fischer Galerie,
    [Show full text]
  • Latino Identity
    General Identity - Books Chapter Four: Latino Identity General Identity - Books Note: The authors could not locate enough books citations in this category to warrant its division into sub-categories similar to those specified for journal articles. Aldama, Arturo J. 2001. Disrupting Savagism: Intersecting Chicana/o, Mexican Immigrant, and Native American Struggles for Self-Representation. Durham: Duke University Press. Colonial discourse in the United States has tended to criminalize, pathologize, and depict as savage not only Native Americans but Mexican immigrants, indigenous peoples in Mexico, and Chicanas/os as well. While postcolonial studies of the past few decades have focused on how these ethnicities have been constructed by others, Disrupting Savagism reveals how each group, in turn, has actively attempted to create for itself a social and textual space in which certain nega- tive prevailing discourses are neutralized and rendered ineffective. Arturo J. Aldama begins by presenting a genealogy of the term “savage,” looking in particular at the work of American eth- nologist Lewis Henry Morgan and a sixteenth-century debate between Juan Ginés de Sepúlveda and Bartolomé de las Casas. Aldama then turns to more contemporary narratives, examining ethnography, fiction, autobiography, and film to illuminate the historical ideologies and eth- nic perspectives that contributed to identity formation over the centuries. These works include anthropologist Manuel Gamio’s The Mexican Immigrant: His Life Story, Leslie Marmon Silko’s Ceremony, Gloria Anzaldúa’s Borderlands/La Frontera, and Miguel Arteta’s filmStar Maps. By using these varied genres to investigate the complex politics of racialized, subaltern, feminist, and diasporic identities, Aldama reveals the unique epistemic logic of hybrid and mestiza/o cultural productions.
    [Show full text]